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image SM Adam volume 24/268

Reference number

SM Adam volume 24/268

Purpose

[29] Design for an ornamental panel, possibly for a drawing room, c1779, possibly executed

Aspect

Elevation of a panel ornamented with a central roundel depicting a winged griffin, enclosed within a band of beading, and flanked by calyx. This is surmounted by arabesques, a tubular flower, and calyx supporting an urn ornamented with strigilation and a rosette. Above this there is a further tubular flower and a wreath enclosing calyx, and this is surmounted by a draped figure bearing an urn. The central roundel has an apron of festoons suspending rosettes, arabesques and a pendent oil lamp ornamented with gadrooning and an anthemion. Below this, drop calyx suspends figure-of-eight husks enclosing rosettes, and there is a peltoid shield superimposed upon crossed thyrsi with an apron of beading and further rosettes

Scale

to a scale

Inscribed

Sir Abraham Hume

Signed and dated

c1779

Medium and dimensions

Pen, pencil and coloured washes including Naples yellow, verdigris, pink, violet and cerulean blue on laid paper (162 x 802)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 41
For a full list of literature references see scheme notes.

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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